Decarlo features fill-in Boston vocalist Tommy Decarlo who unfortunately delivers a lacklustre effort on this poorly produced solo debut. There is little energy to speak of, the production really is truly lacking and the artwork looks like it was a done one afternoon during a high school Photoshop lesson.

The title track is cringeworthy with its basic chorus and pumped in crowd cheer and beyond the opening track, the rest of the record is simply too polite for its own good.

Unfortunately, I think this is a largely forgettable record in a very crowded market.

The deluxe edition of Yngwie Malmsteen’s new CD comes with a drinks coaster. I recommend sticking to the regular version and just use the disc instead. Yes, it’s that time of the year again, where we get to investigate Yngwie’s latest musical offering – this time he’s tackling “the blues”.

I’m not sure which blues he speaks of – this record has as much in common with the Mississippi Delta or the origins of blues based rock as Steve Perry is to gangsta rap. Look, I know it’s fun to read a bad review and especially one aimed at Yngwie – but it’s not without cause.

This album continues the muddy mess that has been every record in recent years where Yngwie is in control of playing, producing and mixing. It’s just bloody awful. The opening title track has wall to wall rhythm with bass reduced to sounding like a distant foghorn dipped in crude oil.

There’s no space between instruments and the relentless double kick drum on just about every damn song is completely out of place. Much like Yngwie playing the blues. Just check out Foxey Lady. Widdling intro, brain damaging bass thumping and thrash like double kick drum speed while Yngwie’s “vocals” and continual widdling travel along at half the speed.

Doesn’t anyone ever say “dude, this ain’t right?”It’s the same with Purple Haze. Widdle, thump, widdle, thump, wail, widdle – all at double the sensible tempo.How about the utterly classic While My Guitar Gently Weeps – the beautiful, gentle, restrained masterpiece of subtlety and style? Widdle, thump, widdle widdle, wail, double-widdle, triple-widdle.There is zero soul on this album. Yes Yngwie can play like a BMF.

Yes, he can widdle faster than the speed of taste, yes he used to be an essential purchase when actually using a producer, a vocalist, a bassist and a drummer (a real band that is).

Until he employs a modicum of self-restraint and self-awareness (and a vocalist and a producer etc etc), then I will be here to critique these albums honestly. And honestly, this is more of the same.I’ll score this a 22 – the same number of years since the last great Malmsteen record.

The return of Steve Perry is one thing, but the avalanche of publicity for the immediate release of a single and a full album due October 5, has been something else.

Such is the rarity of new Perry work, I have been writing for 22 years and only covered one new studio album – Journey’s Trial By Fire.

But here we are – Traces is the new album – a 10 track chronicle of Steve’s recent life experiences and a 15-track deluxe edition available via direct online or USA Target stores. This is a review of the standard/international edition. It will be updated with word on the additional 5 tracks ASAP.

To many – me included – Steve Perry is the voice of AOR, the definitive authority on just how good vocals can be. You have to get past the pure excitement factor of just getting to hear his voice again before you can objectively critique new material. I have given most of my personal favourite artists a serve at one point or another over the years, however, I’m pleased to say there’s not much to be critical of here – provided fans understand the reality of Steve Perry 2018.

The voice is rougher, raspier and it isn’t as strong as it once was. But that’s almost stating the bleeding obvious. Who would be at nearly 70 years of age?

What I care about is performance and songs and ‘Traces’ gets a tick in each column.

I can’t imagine anyone is surprised to hear this is a ballad filled, slow to mid-tempo record. And while some may struggle with the pace, I doubt any long time Perry fan is going to be disappointed.

Steve Perry at 70 is still Steve Perry. Just like hearing Neil Diamond at any stage in his career, so too is the joy of hearing Steve Perry. It’s that distinctive voice and those trademark inflections, that tone and that unmistakable delivery of mood and emotion that no one does better.

The characteristics and familiar style of Steve Perry’s past is all over this record. You can hear parts of ‘Street Talk’, ‘Strange Medicine’ and of course ‘Trial By Fire’ and other Journey-isms.

Taking a look at the songs themselves:

‘No Erasin’' is the upbeat easy to like, catchy as hell lead track (and single). I’ve enjoyed it from the start and I’m still enjoying it. Immediately memorable and the layered Motown harmonies are trademark Steve.

‘We're Still Here’ is the second track and a ballad as expected. It’s very smooth, very moody and features a more direct and unfiltered lead vocal. Textured with modern production effects and soulful harmonies, the chorus isn't big, but it's cool. Compared to the rest of the album’s ballads, it almost feels ‘up’, especially with the chorus.

'Most Of All' is a co-write with the great Randy Goodrum. It features a wonderful heartfelt vocal; slower and very sparse and smooth, this time lead primarily by Steve's voice and a grand piano. The chorus lifts tempo slightly as does Steve's voice. I picked it as a favourite from the first listen and that’s stayed true. Not unlike Strange Medicine's slower moments, plus a nice guitar solo and plenty of soul.

'No More Cryin' is yet another ballad, but each track has its own vibe, making the album far more enjoyable overall. This track has a touch of the Memphis blues about it and immediately reminds me of old school Steve. The chorus lifts the tempo and has some cool modern guitar riffing.

'In The Rain' is something very special. This is a very personal, very emotional piano ballad, formed with just a warm, soulful vocal, the piano and some lush orchestration. The vocal is amazing - very raw and haunting and Steve’s most ambitious high notes on the album. I can’t praise that enough and the vocal-melody makes the song.

'Sun Shines Grey' is co-written with John 5 and producer Thom Flowers. We've found the album’s other rocker, and it reminds me of modern day Rick Springfield mixed with Journey's Can't Tame The Lion. I could imagine Neal Schon playing on this, but John 5 is the man behind the riffs and also delivers a cool solo.

'You Belong To Me' is another soft piano ballad with accompanying string orchestration and an ultra-smooth and soulful vocal. There's some rasp in that voice its aged, but it’s still driven by those classic Perry nuances.

‘Easy To Love' is another stand out ballad. This one is characterised by some percussion and organ accompanying a slow, steady Motown style vocal. The chorus jumps in tempo with some classic Perry soul harmonies. This is definitely another ballad with a familiar vibe.

'I Need You' is a cover of the Beatles tune, a mere 2.59 in length, this ballad features the most familiar Perry vocal sound yet! Soft, slow, soulful...it’s the theme of the record.

Closing out the standard edition of this album 'We Fly' is another unique ballad. The first minute features just Steve's vocal. Talk about putting yourself out there! It’s an intense song that builds as it goes with atmospheric keyboards in the background.

And there you go. A very quick 40 minutes flies by as you immerse yourself in the music and lyrics of the maestro. It’s a very fine record, there’s no doubt. Immaculately produced and constructed, with equally impressive musical performances by the band assembled and also the orchestral parts. The soulful harmonies are classic Perry and lush in texture.

What I do like about this album is each ballad has its own style, its own emotion and its own unique energy. Overall, this is a very contemporary album. The two rockers are both very commercial and the ballads could be lifted from any era. It’s a mood album…but perfect for when you’re in that mood.

It's Steve ‘MF’ Perry. It’s also very very good.

Target Special Edition Bonus Tracks:

‘October In New York’ is a slow crooner of a song – a very authentic jazz/40s pop crooner complete with a stripped back jazz-ballad arrangement with orchestration and a simple piano to accompany. Not huge on this one – but the musical style is not my bag generally speaking.

‘Angel Eyes’ lifts the tempo a little – mid-range for this track, which quite honestly could have come straight off Street Talk. Gracious, this one should have been on all editions! A wonderful breezy tune with lots of Motown influences and the same feel as ‘I Believe’ and ‘Go Away’. The vocal is quite marvellous.

‘Call On Me’ takes on the third different style in 3 songs. Almost as if Steve has left the more adventurous tracks for the special edition. This one has another familiar feel to it, using a mid-tempo reggae beat in the same way as Steve has done before, with his soulful vocals just dripping over the instrumentation. Another fine vocal it must be said and another likeable song. I would have used this on the regular edition.

‘Could We Be Somethin’ Again’ is yet another left turn – a slow to mid-tempo pop/soul track with a tidy little beat and another warm vocal. Good song, but definitely a bonus track kinda tune.

The 3 minute ‘Blue Jays Fly’ is the 5th song with the 5th different style. Not sure how to describe this one. A softly sung vocal over sparse instrumentation – it’s almost in a meditative or lullaby state that doesn’t feature a lot of vocals. It closes out things nicely, but not one I’d choose for the main set of songs.

More songs are always welcomed – there’s a couple of great tunes here that could easily have been part of the main release. The other 3 make for likable bonus tracks and take Steve’s overdue comeback album to a better length.

My original review and rating remain intact.

Aussie hard rockers Wicked Smile released their debut EP earlier this year. It’s a CD and digital release, so check your regular outlets for availability. For a release that’s only 4 tracks long, the guys make a real impact with this EP. 4 toe tapping, head banging, melodic hard rockers, with a classic era feel, yet a contemporary production courtesy of Paul Laine.

The band features the powerhouse vocals of Danny Cecati (ex-Pegazus & Eyefear), who delivers a raspy and at times gruff vocal, that ultimately turns melodic come chorus time. He really makes a big impact on this material. Guitarist Stevie Janevski (The Radio Sun & ex-Black Majesty) gets to really crank things up for the first time in a long while and he sounds ‘electrified’ on these 4 songs. Super heavy for The Radio Sun fans, but very comfortably at home for those that know Steve from the Black Majesty days.

Dave Graham joins Steve on guitars, with Glen Cav on bass and Jason Tyro on drums making up the very capable rhythm section.

Purchase on CD: https://store21429008.ecwid.com

It may only be an EP, but everything really comes together or Wicked Smile on this release. I’m left wanting more, with the 4 tracks all making their own mark. Outstanding start, hoping for a full-length album in the near future.

Berlin have joined a select few classic artists that have delved into their studio cuts to revive them with the backing of a symphony orchestra.

American 80s favourites Berlin, the sometimes pop, sometimes rock outfit have delivered a highly enjoyable set of 11 songs (and an intro), all given a really fresh revamp with the orchestral infusion. These aren't re-records - its the original songs, with a fresh mix.

This is a great reminder of how many great songs Berlin have - from the iconic Take My Breath Away to the underrated classic No More Words and their cult classics Sex (I'm A) and The Metro. Then in the latter years you get the rockier Like Flames, Will I Ever Understand You and the brilliant moody You Don't Know.

All wrapped in this rich symphonic tapestry - highly recommended!

Credit where credit is due, this is one of Frontiers Records best project ideas and the fact that the guys are delivering album number 4 shows that it has worked.

And in delivering their forth studio album, the W.E.T guys deliver another powerhouse statement. This is another classic for the genre and features 11 brilliant songs that lay a fresh path for the band without going outside the parameters of what we loved about the first three records.

‘Retransmission’ is melodic hard rock perfection from start to finish. From the glorious Big Boys Don’t Cry to the closing stadium knockout One Final Kiss. The album has a more direct, straightforward approach and is more guitar driven than its predecessors, changes you might think put the sound firmly into Eclipse territory, but no, W.E.T retains its own personality and there are still plenty of Robert Sall delivered keys underneath the layers and Jeff Scott Soto is a joy to listen to.

There are moments where you think this is Eclipse, but the JSS stamp quickly reminds you what you’re listening to. Erik Martensson is of course the chief architect and he has built another impressive 11 track structure here.

There’s two songs that could be described as ballads – but they’re more anthemic AOR songs (Got To Be About Love and What Are You Waiting For) – and the rest are all hands in the air singalong hard rockers with a crunch only matched by the sheer gloriousness of the harmonies.

Not only are there several moments that rival the best songs W.E.T have delivered to date, but there’s a few places where you think, wow, that’s a fresh take for these guys (such as the bombastic rhythm of How Far To Babylon).

And just when you think it just can’t get any bigger or better you get a song like You Better Believe It.

A perfect melodic hard rock record. Sharp production, blindingly good songs, huge vocals and even bigger harmonies and there’s 11 tracks of this where the pace barely take a breath and the quality doesn’t let up for a second.

Perfect.

Guitarist and founder Andreas Gullstrand said Creye have never sounded better and I’d have to agree. The superb pure Scandi-AOR debut has been bettered and expanded upon on ‘Creye II’ and the transition to new vocalist August Rauer seems complete with no interruption to the sonics or pure AOR fans fell in love with the minute the band were introduced to the world.

Creye ‘II’ uses a more contemporary production template, with more effects, some programming that give it a strong modern edge, but the songs and the vocals especially are pure 80s at heart.

The upbeat and free flowing tempo give the album a sense of urgency, and with only one ballad you might think its overkill. But the fact is there is so much texture within the songs, moments of reflection, big choruses, passages of moodier moments and then some moments of more prominent guitar, which comes as a contrast to the layers upon layers of keyboards and piano.

So many song highlights to speak of. At 13 tracks it might seem a little long, but the album clocks in at 42 minutes, so these songs are all straight down to the business of delivering heartfelt emotions and big choruses.

All in all, this is quite wonderful ‘old school contemporary’ record wrapped in the pure keyboard driven AOR of Scandi-80s pop/rock and the programming and production techniques of today. The production and mix are first rate, which is vital to making the record sound so fresh. It could easily have been a muddy mess if not done correctly.

Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.

Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.

It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.

Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.

Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.

I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.

Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.

God bless AC/DC, may their reign over metal heads until the end of time itself.

::: NITRATE returns with “Renegade” on July 30^th, 2021! :::

(c) Nitrate/ Nick Hogg

Nitrate is back with their third album; ‘Renegade’, a follow on to their previous highly rated albums ‘Realworld’ in 2018 and ‘Openwide’ in 2019, which achieved great success.  Inspired by the late 80’s rock scene with bands such as Def Leppard, Europe, Motley Crue, and Bon Jovi, Nitrate is the brainchild of song writer Nick Hogg (bass guitar) from Nottingham England.   Nick has this time changed the line-up and enlisted Alexander Strandell (Art Nation) to take over on Lead Vocals & has teamed up with Tom & James Martin (Vega) & Mikey Wilson (Kimber) to produce an album that has been heavily influenced by Def Leppard’s ‘Hysteria’. With Tom Martin playing all the rhythm guitars and James Martin taking over on Keyboards the album delivers a more melodic/AOR feel than ever before. Renegade delivers 11 Hook filled tracks with great melodies, walls of keyboards and backing vocals supplied by Alessandro Del Vecchio.  Tracks were inspired from bands such as Def Leppard, Starship, Journey, Skid Row, and Roxette making for a true 80s sound. Taking over on Lead Guitar is Dario Nikzad (Hell to Play). 

Nitrate is: Nick Hogg - Bass Guitar, Alexander Strandell - Lead vocals, Tom Martin - Rhythm Guitars, James Martin - Keyboards, Dario Nikzad - Lead guitars, Mikey Wilson - Drums  p; & additional guitar and keyboards, Alessandro Del Vecchio -  Backing vocals;

Produced by Tom & James Martin & Mikey Wilson; Mastered by Alessandro Del Vecchio; Engineered by Tom & James Martin, Mikey Wilson, Alexander Strandell, Dario Nikzad, Alessandro Del Vecchio & Paul J King

Music recorded at Strandell Studios - Sweden, Osborne Studios - UK, Ivorytears Music Works - Italy, Soundwave Studios - UK

Mixed by Mikey Wilson ; Mastered at Ivorytears Music Works

All songs written by Nick Hogg, Tom Martin & James Martin Except ‘Alibi’ & Children of the Lost Brigade’ Written by Nick Hogg & Rob Wylde & ‘Renegade’ written by Tom Martin, James Martin & Nick Workman

Album Artwork by Nello Dell’Omo

Facebook: www.facebook.com/Nitrate-100323740377514/

Spotify https://open.spotify.com/artist/6wEVMZieIv9ttCzvuDYev8

Itunes https://music.apple.com/us/artist/nitrate/1422493773

Danger Zone (Official Lyric Video): https://youtu.be/CtD_XMARcG4

Release date: July 30^th, 2021

PR world-wide: info@germusica.com

Haulix: May 31^st, 2021

*****

::: STEPHEN CRANE & DUANCE SCIACQUA team up for “Big Guns”! :::

Big Guns was formed in 1985 as a direct follow up to the record “KICKS” by Stephen Crane (MCA 1984). Due to Irving Azoff’s departure and the ensuing shake up at MCA that year, KICKS was left without any marketing or promotional funds and was basically ‘Dead on Arrival’ and did not chart. Although, interestingly enough, the record has subsequently been re-released two times in Europe and has received rave reviews!

As a result of MCA’s inability to promote the album and band, Stephen Crane and Duane Sciacqua continued their quest to write and record new songs that were, and still are relevant in the world of Rock! Joined by then band member, Johnny Burnett (RIP), Crane and Sciacqua soon enlisted fellow band mates Paul Daniel (drums), and Matt MacKelvie (guitars, keys, vocals) and created “BIG GUNS”. They began a series of recordings with engineer Brett Gurewitz  at his Hollywood studio. Crane and Sciacqua wrote, or co-wrote, and produced the songs that would become their self-titled album “BIG GUNS”. The band became a staple playing around Hollywood at the ROXY, FM Station, and other well-known rock venues. They received label interest but could never reach an amicable agreement and their search waned - players moved on, lives changed and BIG GUNS faded into the Rock n Roll sunset.

 Many years later as good fortune would have it, the once forgotten Stephen Crane album (KICKS) received its popular acclaim, and the search for the long forgotten tapes was on. Georg Siegl at AOR Heaven, sought out guitarist Sciacqua for material, and the re-emergence of BIG GUNS was underway. After searching through the archives of years past, Sciacqua found the missing BIG GUNS tapes and through careful remastering and some re-recording was able to render the 10 tracks that make up the album.

This project stands as a monument to the songwriters, the singers and the players who dedicated their time and talents to comprise their self-titled album “BIG GUNS”.

STEPHEN CRANE & DUANE SCIACQUA - Gangland (Official Audio): https://youtu.be/su8yDRKCFhw

Release date: July 30^th, 2021

PR world-wide: info@germusica.com

Haulix: May31st, 2021

*******

:::TUPLE releases new video for ”Welcome To Hell” today!” :::

“Welcome To Hell” (out today) is the follow-up to the highly-acclaimed “Wooden Box” album by TUPLE which was released in 2020 via AOR Heaven and resulted in a charty entry in the native country of this Finnish artist.

Finland is well-known for its Heavy Metal roots. Far and wide comes the list of Metal bands that are known all around the world. But there’s also a strong Melodic Rock/AOR community. Bands that rely, not only on heavy riffing, but also strong melodies and larger-than-life keyboards. TUPLE is a good example of it. Catchy songs, great melodies, fine artistry.

To celebrate today’s album release, TUPLE has released another video today:

TUPLE - Welcome To Hell (Official Video): https://youtu.be/a37a39ePZ7s

The band is:

Tom Rask - drums; Jykä Sirainen - bass; Riitis - guitars,keys and backing vocals; Tommi “Tuple” Salmela - vocals and backing vocals

Noora Louhimo (Battle Beast) - guest vocals on ‘Survive’

Tony Kakko (Sonata Arctica) - additional backing vocals

Janne Tolsa - mixing, mastering and additional keys

Erkka Korhonen  – guitar solos on 5 songs

www.facebook.com/Tupleofficial

Not sure how to categorize this one. Perhaps if Poison were a Christian band from the Midwest?

Martin Perticone is the Argentinian behind the band, but to my ears there is still a lot of work to do to take the next step and compete with today’s melodic rock artists.

The production and mix feel underdone and the songs are a little awkward in places as a result.

Steve Overland (FM) takes lead vocals on the opening track, but I didn’t even pick it was him such is the mix. Eric Martin takes lead vocal on two versions of the same song – a present enough acoustic driven pop rocker. After those tracks there is only 6 others to take in and while uplifting in its premise, the finished product feels like half an album. It needed more songs and a sharper sound to make an impact. And something completely different for the artwork. It looks like record for an independent rap artist.

A nice throwback to old school harmonies and a mixed acoustic/electric uptempo approach, but like I said, still a lot of work to do.

The mighty Jeff Scott Soto celebrates his birthday week with the release of a brand-new solo album that seems him paired for the first time with Frontiers in-house go to guy Alessandro Del Vecchio. That will draw some automatic presumptions over the sound and style of this record, which I must immediately dispel.

This is not a project release that has Jeff phoning in his vocals. Fans of Jeff will already know that he doesn’t put his name on anything that doesn’t include his heavy involvement, and this is even more true of a record that bares his name.

Tasked with production and music, Alessandro has worked in partnership with Jeff, who wrote all the lyrics and additional melodies. And the in-house band isn’t the usual ADV crew, with long-time Soto/JSS drummer Edu Cominato taking command of the kit and really belting out a powerful performance.

What I love about this record – and what I told Jeff after he sent me the album some months ago - was that I thought Alessandro had done a superb job in crafting a set of songs that play like a JSS Greatest Hits record. Throughout the record you hear parts of Jeff’s career, solo as well as a taste of Talisman, Yngwie Malmsteen and even WET. I can hear parts of Lost In The Translation, Prism and Damage Control.

Wide Awake (In My Dreamland) sounds like the best of all parts of Jeff’s career, wrapped up in a seriously well produced and sounding package. On top of that, Jeff himself sounds as fresh as ever.

This is a classic Jeff Scott Soto record.

To showcase just a few of the songs, the album opens with one of the best solo tracks of Jeff’s career is the Talisman sounding Someone To Love, this is just everything fans love about Jeff.

Paper Wings again heads back to the heavy groove of Talisman, mixed with some Yngwie guitar hero stylings.

The heavy but melodic Love Will Find A Way has groove, funk and driving attitude that wraps up several eras in one song.

Between The Lines is a superb AOR ballad while the dark and heavy Wide Awake (In My Dreamland) is almost at the opposite end of Jeff’s spectrum.

No filler, just winner after winner, with the inspired paring of ADV and JSS really delivering for fans. As already stated, this is the best of JSS comprising of 11 new songs and another killer live set as a 10 track bonus disc.

Essential!

For those unfamiliar with my affinity with Night Ranger, they’ve been close to my favourite band since 1985 and have rarely disappointed throughout their distinguished recording career.

They’re also responsible for a couple of my most loved live albums over the years.

Add in solo albums, favourite songs and general songwriting prowess and you should get the picture - Night Ranger are melodic rock royalty.

With that status, each album is therefore highly anticipated. For a band recording since 1982, with 12 studio albums to their name (yes, I’m including the marvellous Mojo record), they have a remarkably consistent catalogue. And in the last decade they have continued to prove that veteran bands can still deliver fresh, energetic and engaging new music.

The guys peaked with the flawless Somewhere In California in 2011 and followed it up with the also excellent High Road in 2014. Don’t Let Up slipped a little off the pace in 2017, so fans were anxiously awaiting the band’s 2021 statement.

And I’m sorry to deliver the point of view that the band has missed a step here, delivering for me at least, their weakest album since 2007s inconsistent, modern-rock dominated Hole In The Sun album. And the reasons are very similar to why. Basically, the band has again veered off path, leaving some of their much-loved trademark sound behind. There are less harmonies, much less keyboards and a whole lot less of Kelly Keagy on this record. And while the band’s most popular songs showcase their knack of delivering emotional uplifting mid-tempo anthems, here the band is either rocking hard, or not. There’s not much middle ground.

Track By Track:
Opening with the furious rocker Coming For You, the band are off to a flying start and make up for the lack of a sing-along chorus with added raw power.

Bring It All Home To Me adds those layered with harmonies, which is a plus and its dominated by some sterling shred work from Brad Gillis, which culminates in the closing minute, but overall the song straddles the line between styles. Strip the guitars and add a banjo and it wouldn’t sound out of place on country radio. A theme that makes repeated appearances on ATBPO.

Breakout sees a welcomed increase in keyboard presence and is another track that races along at breakneck speed. Being the lead single there are considerable public comment on this track and many bemoan the lack of a big chorus. I say that note and appreciate the excellent melodic bridge that leads into the short, sharp chorus. A track that sounds great to me.

Hard To Make It Easy is the first major left turn and will be one of the songs I edit out on my playback version. I simply don’t need honky-tonk Night Ranger and while the song ‘rocks’, it isn’t in a way I can appreciate and is another almost-country song.

On the first ballad of the album, Can’t Afford A Hero, the band stop hiding behind the pseudo-country hints and come out as a full country flavour acoustic driven track that’s more Shaw/Blades or Garth Brooks than Night Ranger. I’m sad to say it’s another hard pass for me.

Now, the start of Cold As December has my full and immediate attention. The opening riffs and melody hint at an anthem of epic proportions, with intricate keyboard and guitar parts lighting up my ears. But without warning at the 48 second mark, the song abandons the entire premise to become another pretty bland screamy hard rocker. The melodic refrain makes a brief return at 3.35 for a few seconds, but I’m left wondering where that song went and why we were left with the one here.

Dance is a feel good mid-to-up tempo rocker with another strong Shaw/Blades vibe and a reasonable chorus, but again, it’s not Night Ranger.

The ballad The Hardest Road sees the first appearance of Kelly Keagy on lead vocals. Where has he been? It’s a warm vocal, but the song is reminiscent of the other Beatlesque ballads Night Ranger have delivered on the last two albums.

The attitude filled hard rocker Monkey has some recent era Night Ranger familiarity to it, but the chorus is horrible. “‘Cause I’m your monkey, well I’m your money, I’ll be your junkie?” Guys…c’mon.

A Lucky Man is another decent track, but it’s another with a strong rock-n-country-pop vibe and I just don’t think this is Night Ranger.

Closing the album is a good rocker sung by Kelly again, which is welcomed. Tomorrow is one of the more traditional Night Ranger sounding tracks and will likely rate as one of the fan favourites.

And that is And The Band Played On. Honestly, as much as I love all things Night Ranger, I’m not afraid to make a stand when something doesn’t live up to my high expectations.

To me, this is more a Jack Blades solo album. And that isn’t meant as an insult in any way. Rather it is more a point of reference to describe what I think this album is. Less ‘Night Ranger’ and more dominated by outside influences and styles. Ones I’d rather hear on solo albums, than on a new Night Ranger album. We only get them every 3-4 years, so for me, I want to hear Night Ranger at their very best each time.

I might add for the record - I'm not at all opposed to a band trying something different, but to do that successfully, the songs really have to be there. For me, that isn’t happening here.